It is the work of a composer who previously experiments on the instrument in search of new sound inductions, tears, trails or small revolutions that can be found on the fretboard of a guitar or on that of a viola by rubbing the bow in a certain way; you will tell me that it is nothing new, of course, but the circumstance that distinguishes Rigotti from his other colleagues is the next step, that is, the selection of extensive sounds and the ability to organize the combinations. The fit between a tear or a glissando and an interstitial approach to the materials of the instruments is particularly defined and successful, the textures and the binding of the sound events are not voiceless but clearly perceptible, as in a drawing that brings with it its ultimate goal and he cannot avoid his compromises.